花谢花飞飞满天,红消香断有谁怜?游丝软系飘春榭,落絮轻沾扑绣帘。
Fly, fly, ye faded and broken dreams
Of fragrance, for the spring is gone!
Be hold the gossamer entwine the screens,
And wandering catkins kiss the stone.
试看春残花渐落,便是红颜老死时。一朝春尽红颜老,花落人亡两不知!林氏并未逐字翻译,而是运用了意象的转换。Fly, fly, ye faded and broken dreams of fragrance,for the spring is gone!全句无一“花”字,却借faded and broken dreams道尽花谢梦断的悲戚。“榭”、“帘”的意象则转换为screens和stone,两词压头韵,读来上口,且柳絮落于石上,也合乎逻辑。
Oh, look upon these tender, fragile beauties,
Of perfumed flesh and bone and hair.
The admirer shan’t be there
when her time is up,
And the admired shall no longer care!
——《明清小品(下)·黛玉葬花诗》
夫有土者,有大物也。有大物者,不可以物;物而不物,故能物物。中国的文言文用词简洁,微言大义。正如有学者所指出的,“单音节性”是中国文学尤其是古典文学的审美规范。西方人却崇尚连贯性。很强的段落阅读。因此,林语堂运用“句化”,将汉语中含义凝练的单个字词转化为句子。如此,译文便更加符合西方读者的阅读习惯,地道易懂。等效替换,重在传神
For to have a territory is to have something great. He who has something great must not
regard the material things as material things. Only by not regarding material things as
material things can one be the lord of things.
——《诸子百家·天道与人道》
满口仍用“者也之乎”等字。
…and still using the most polished language of thou and thee and wherefore and is it not so?
——《明清小品(下)·不亦快哉》
《立》顺而求美林语堂提出的翻译标准有三:忠实、通顺、美,与严复的“信、达、雅”大体上是“正相比符的”。林氏认为,翻译诗文小说一类的艺术作品时,在达到忠实通顺的标准后,“不可不注意于文字之美的问题。”因“凡文字有声音之美,有意义之美,有传神之美,有文气文体形式之美。……理想的翻译家应当将其工作做一种艺术。以爱艺术之心爱他,以对艺术谨慎不苟之心对他,使翻译成为美术之一种(translationasafineart)”。林氏正是秉持这种工匠精神,雕琢出众多传世佳译。
立分久暂,暂可无依,久当思傍。亭亭独立之事,但可偶一为之,旦旦如是,则筋骨皆悬而脚跟如砥,有血脉胶凝之患矣。或倚长松,或凭怪石,或靠危栏作轼,或扶瘦竹为筇;既作羲皇上人,又作画图中物,何乐如之!但不可以美人作柱,虑其础石太纤,而致栋梁皆仆也。The Art of Standing
Stand straight,but do not doit for long. Otherwise, all leg muscles will become stiff and circulation will be blocked up.Lean on something!—on an old pine or a quain trock,or on a balcony or on a bamboo cane. It makes one look like one is in a painting. But do not lean on a lady! The foundation is not solid and the roof may come down!
——《明清小品(下)·随时即景就事行乐之法(节录)》
寻寻觅觅,冷冷清清,凄凄惨惨戚戚。《声声慢》中林语堂通过复迭so字和连用七个押头韵的形容词,再现了原诗的美感与气势,做到了形似且神似。林语堂在《论译诗》中如此表述翻译这十四字的心得:“……真费思量。须知全阙意思,就在‘梧桐更兼细雨’那种‘怎生得黑’的意境。这意境表达,真不容易。所以我用双声方法,译成sodim,sodark,sodense,sodull,sodamp,sodank,sodead十四字(七字俱用定母译出),确是黄昏细雨无可奈何孤单的境地,而最后dead一字最重。这是译诗人的苦处及乐处,煞费苦心,才可译出。”翻译家童元方在《译心与译艺》一书中如是评价:“双声的方法在这里不仅译出了荒凉之感,而且译出了词的音乐性。或者用林自己的词汇来说,是诗词中的‘自然节奏’。”《行香子》中,林氏在两阙的末三句均运用了压头韵,实现了形之美;又将“驹、火、梦、琴、酒、云”等意象根据译文长短和韵脚调整顺序,使节奏自然协调,实现了韵之美。
Sodim,sodark,Sodense,sodull,Sodamp,sodank,Sodead!
——《晋唐心印·声声慢》《行香子》
清夜无尘,月色如银。酒斟时、须满十分。浮名浮利,虚苦劳神。叹隙中驹,石中火,梦中身。
虽抱文章,开口谁亲。且陶陶、乐尽天真。几时归去,作个闲人。对一张琴,一壶酒,一溪云。Random Thoughts, to the Tune of Shinghsiangtse
O the clear moon’s speckles,silver night!
When filling thy cup, be sure to fill it quite!
Strive not for frothy fame or bubble wealth:
A passing dream—A flashing flint—
A shadow’s flight!
O what is knowledge, fine and super fine?
To innocent and simple joys resign!
When I go home, I’ll carry on my back
A load of clouds—
A sweet-toned chin—A pot of wine!
——《东坡笔意·行香子》
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